A superlative disc full of shocks for the unsuspecting listener that deserves to be known as widely as possible.

The first shock is the treatment of Boccherini's String Quintet in C major, G. 324 "La Musica Notturna delle strade di Madrid": completely tonal and without a angular harmony in earshot, this glorious re-orchestration is a carefully graduated crescendo and diminuendo, expertly executed by the Finnish players. They and Lintu clearly revel in the outrageous reimagining that Berio gifted this work (a fine interpretation of the original can be heard on this disc: Boccherini: Fandango & Sinfonias - Savall)

The next piece, Calmo, is more "conventional" Berio (if such a thing is possible!) and lasting for around 15 minutes, is Berio's musical reaction to the sudden death of his compatriot & fellow composer/conductor, Bruno Maderna. Virpi Räisänen and Lintu provide a suitably respectful account and this change of musical style prefaces what must be counted as the musical centerpiece of this disc: Berio's seminal Sinfonia for 8 voices and orchestra.

In 5 movements, Lintu & the Finnish RSO begin by building the emerging complexity of Berio's score with methodical care. By contrast, the second movement is much more static and is, like Calmo, a memorial to an important figure: Martin Luther King. Under the chorale-like textures from the singers, the orchestra deploys stinging barbs and, from the strings, an example of Berio's ability to "melt" the harmonies. At the close of the movement, we hear his name together; before, it was fragmented into disconnected syllables of his name.

The third movement, "In ruhig fliessender Bewegung", would in itself guarantee Berio musical immortality: perhaps the most remarkable transfiguration of another composers work to date, Berio takes Mahler's Scherzo from his 2nd Symphony and overlays it with (mainly) Beckett which is alternately measured and freely paced throughout the music. Then, and this is the moment of unquestioning genius that all music lovers (particularly of the fin de siecle) should hear: Berio very effectively subverts Mahler into everything from La Mer to The Rite of Spring to Der Rosenkavalier (and many many more) whilst keeping the pace and narrative of Mahler's composition. Unlike other accounts, Lintu respects Berio's instruction that the singers should be a "section of the orchestra" and not be too prominent. This may initially lead to disappointment that the (very good) singers here do not have as much impact as in other places but the effect of a musical kaleidoscope of sound is much more subtle and evocative as a result. (Incidentally, Lintu & his Finnish orchestra sound as though they'd give fine accounts of the above pieces - we can but hope!)

"Normality" resumes in the fourth movement, opening with another quote of Mahler 2 (this time, the finale) and is largely static. Lintu and his ensemble make the most of the unsettled harmonies and this leads naturally into the fifth movement. As the fifth movement synthesises the previous four movements, it is easily the most musically complex part of the work; despite this, Lintu & his forces sound completely in control and make a highly persuasive account of this musical tour de force.

The recording is fortunately fully equal to the demands of this extraordinary music. The Boccherini shows what a wonderful dynamic range is afforded to the players as well as what must be considered microphone placement so that details are captured but never at the expense of appearing to spotlight players: every contribution feels a natural part of the whole tonal picture. Similar considerations apply in the following more avant garde works.

Very strongly recommended indeed.

Copyright © 2015 John Broggio and HRAudio.net

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